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"disqusTitle": "New Organ Planned For Castro Theatre Will Be Among Largest in the World",
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"content": "\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165184212&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Castro Theatre regulars know to come early.\u003c/p>\n\u003cp>They know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theater's side walls.\u003c/p>\n\u003cp>But mostly, they know to listen. Because 15 minutes before each movie showing, the organ music begins.\u003c/p>\n\u003cp>Rising from the orchestra pit on a lift, organist David Hegarty plays a dramatic tune on the theater's creamy yellow Wurlitzer. He started playing at the Castro 36 years ago -- before the current organ was even installed in the space.\u003c/p>\n\u003cfigure id=\"attachment_146107\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg class=\"wp-image-146107\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/2014-08-06-14.41.01-640x480.jpg\" alt=\"Hegarty practices the Castro's signature song, "San Francisco." (Olivia Allen-Price/KQED)\" width=\"320\" height=\"240\">\u003cfigcaption class=\"wp-caption-text\">Hegarty practices the Castro's signature song, \"San Francisco.\" (Olivia Allen-Price/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>And he'll be around after it's gone, too. The Wurlitzer that has entertained audiences for 30 years is up for sale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Meklit's 'We Are Alive'",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/03/20140328etcrmag.mp3\u003c/p>\n\u003cp>We Californians can be a bit superstitious when it comes to our state's faults. I mean the geological ones, not the other quirky characteristics. No so much \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\">Meklit\u003c/a>. On her new album, \"We Are Alive,\" the singer-songwriter and global activist confronts that fact of life head-on, even courts it. The set's opening song says it up front. We are, she sings, \"Waiting for Earthquakes.\"\u003c/p>\n\u003cp>Of course the song is metaphorical, about emotional temblors, not the other kind. But upheaval is a current that runs through the album, both in lyrics and music. In other hands, her folky jazz might be smooth, easygoing. And with her raw, beautiful and nimble voice, she could certainly pull that off. But she never seems content with smooth.\u003c/p>\n\u003cp>Just as you think you know what the music is, it becomes something else, even if just for an instant. A sudden dart or twist in a melody, as if a thought just popped into her head. A counter-rhythm pluck from bassist Sam Bevan. A spike of melancholic mystery from trumpeter Darren Johnston. A rumbling peal from drummer Lorca Hart. It's the sound of an artist not content to be any one thing, or even one thing at a time. The inherent restlessness is below the surface in some spots, but in others, as on \"In Sleep,\" right up top.\u003c/p>\n\u003cp>Meklit Hadero was born in Ethiopia, raised in various spots around the U.S., and has been a San Francisco presence for the past dozen years. She's already a TED senior fellow for her work with music and culture of the Nile region and its diaspora.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She's been compared to Joni Mitchell at her most adventurous, as well as the Talking Heads, Norah Jones and Lou Reed - though none of them, or even any combination, give an accurate impression. On her first album she was bold enough to tackle Nina Simone's signature \"Feelin' Good.\" She was one of the creators of \"Earthbound,\" billed as the \"first hop-hop space opera,\" and her all-cover-songs collaboration with soul singer Quinn DeVeaux featured material ranging from Arcade Fire to Neil Young to Stevie Wonder.\u003c/p>\n\u003cp>Producer Eli Crews - who has worked with \u003ca href=\"http://tune-yards.com/\" target=\"_blank\">TuneYards\u003c/a>, another global-minded shaker-upper - helps bring out all of Meklit's experience and perspective in these songs. It's not world music per se, but there is a world of music here, with a dimensional quality only hinted at on her 2010 debut. Even when the music is delicate, as with the toy-piano-based waltz \"Stuck on the Moon,\" there's a sturdiness to it, while the song \"Slow\" is simply, exuberantly robust.\u003c/p>\n\u003cp>She also puts her stamp on two cover songs, which in the process serve as good reference points for her own material. There's a sort of Afro-jazz version of the Police's shadowy \"Bring On the Night\" followed by a traditional Ethiopian song, \"Kemekem.\" The latter, subtitled \"I like your Afro,\" features fellow Ethiopian Samuel Yirga guesting on piano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \"Waiting for Earthquakes\" sets the tone, the title song, \"We Are Alive,\" ties it all together at the end. Now, she'd never be so trite as to say that we need earthquakes, emotional or otherwise, to make us feel alive. She's just saying: Throw away those superstitions and enjoy the shake.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We Californians can be a bit superstitious when it comes to our state's faults. I mean the geological ones, not the other quirky characteristics. No so much \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\">Meklit\u003c/a>. On her new album, \"We Are Alive,\" the singer-songwriter and global activist confronts that fact of life head-on, even courts it. The set's opening song says it up front. We are, she sings, \"Waiting for Earthquakes.\"\u003c/p>\n\u003cp>Of course the song is metaphorical, about emotional temblors, not the other kind. But upheaval is a current that runs through the album, both in lyrics and music. In other hands, her folky jazz might be smooth, easygoing. And with her raw, beautiful and nimble voice, she could certainly pull that off. But she never seems content with smooth.\u003c/p>\n\u003cp>Just as you think you know what the music is, it becomes something else, even if just for an instant. A sudden dart or twist in a melody, as if a thought just popped into her head. A counter-rhythm pluck from bassist Sam Bevan. A spike of melancholic mystery from trumpeter Darren Johnston. A rumbling peal from drummer Lorca Hart. It's the sound of an artist not content to be any one thing, or even one thing at a time. The inherent restlessness is below the surface in some spots, but in others, as on \"In Sleep,\" right up top.\u003c/p>\n\u003cp>Meklit Hadero was born in Ethiopia, raised in various spots around the U.S., and has been a San Francisco presence for the past dozen years. She's already a TED senior fellow for her work with music and culture of the Nile region and its diaspora.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She's been compared to Joni Mitchell at her most adventurous, as well as the Talking Heads, Norah Jones and Lou Reed - though none of them, or even any combination, give an accurate impression. On her first album she was bold enough to tackle Nina Simone's signature \"Feelin' Good.\" She was one of the creators of \"Earthbound,\" billed as the \"first hop-hop space opera,\" and her all-cover-songs collaboration with soul singer Quinn DeVeaux featured material ranging from Arcade Fire to Neil Young to Stevie Wonder.\u003c/p>\n\u003cp>Producer Eli Crews - who has worked with \u003ca href=\"http://tune-yards.com/\" target=\"_blank\">TuneYards\u003c/a>, another global-minded shaker-upper - helps bring out all of Meklit's experience and perspective in these songs. It's not world music per se, but there is a world of music here, with a dimensional quality only hinted at on her 2010 debut. Even when the music is delicate, as with the toy-piano-based waltz \"Stuck on the Moon,\" there's a sturdiness to it, while the song \"Slow\" is simply, exuberantly robust.\u003c/p>\n\u003cp>She also puts her stamp on two cover songs, which in the process serve as good reference points for her own material. There's a sort of Afro-jazz version of the Police's shadowy \"Bring On the Night\" followed by a traditional Ethiopian song, \"Kemekem.\" The latter, subtitled \"I like your Afro,\" features fellow Ethiopian Samuel Yirga guesting on piano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \"Waiting for Earthquakes\" sets the tone, the title song, \"We Are Alive,\" ties it all together at the end. Now, she'd never be so trite as to say that we need earthquakes, emotional or otherwise, to make us feel alive. She's just saying: Throw away those superstitions and enjoy the shake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-31e-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10342393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger-400x225.jpg\" alt=\"Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10342393\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s improvised music scene is made up of dozens of projects and bands drawing on a shared pool of talent, so it’s not unusual for musicians to play together in multiple ensembles. The Nathan Clevenger Group includes many of the scene’s leading figures, but he’s created a sound that stands out from the crowd.\u003c/p>\n\u003cp>Led by the Oakland guitarist/composer of the same name, the Nathan Clevenger Group has been around since 2003, although the band didn’t release its debut album, “The Evening Earth,” until 2010. On its new album, “Observatory,” there’s the sense the ensemble has grown into Clevenger’s music, figuring out details that are all the more tricky for unfurling at an unhurried pace, like the playfully episodic “Dia de los Monos.”\u003c/p>\n\u003cp>Nine of the album’s 10 tracks feature a sextet, and the core of the group is built around Clevenger’s cool-toned guitar, the texture-minded drummer Jon Arkin, bassist Sam Bevan and alto saxophonist Kasey Knudsen, a player whose presence is always a reliable sign that something interesting is going on.\u003c/p>\n\u003cp>Drawing on orchestral jazz concepts pioneered by Duke Ellington, Sun Ra and Gil Evans, he revels in coaxing a kaleidoscopic array of voicings from the band, writing extended dreamscapes that unfold with their own quirky internal logic. On the atmospheric ballad “Monsoon,” the slowly building intensity leads up to a long keening solo by Knudsen, but the storm always stays far offshore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like Harry Carney’s supple baritone saxophone anchored and defined the sound of the Duke Ellington Orchestra, Clevenger is clearly inspired by reedy lower registers. Almost every track features either Aaron Novik or Cory Wright on bass clarinet, and the contrast between their woody rumblings and the guitar, alto sax and flute provides a good deal of drama. On the jaunty “Slipshod Caffeine,” the band sounds like Sun Ra riding a particularly pleasant space wave.\u003c/p>\n\u003cp>Over the past decade, Clevenger has intersected with some of the Bay Area’s most creative musicians, including saxophonist Phillip Greenlief, bassist Lisa Mezzacappa, trumpeter Darren Johnston and clarinetist Aaron Novik (he performed and recorded as part of Novik’s extended work “The Samuel Suite,” which was released on the Evander label in 2008). Like them, he draws on a pool of players who can be found working together in various combinations, like Cory Wright’s excellent new album “Apples + Oranges” (Singlespeed Music), a quintet session that also features saxophonist/flutist Evan Francis and was also recorded by Eli Crews and mastered by Myles Boisen.\u003c/p>\n\u003cp>Part of what makes Clevenger’s music so much fun is that he’s found a sweet spot between imposing his ideas as an arranger and opening up his material to his cast of vivid improvisers. He employs a similarly deft touch as a player. Throughout the album, Clevenger doesn’t take more than a handful of solos, but he is often guiding the ensemble with luscious chords and carefully placed lines. In many ways, the band itself is his instrument.\u003c/p>\n\u003cp>On “Observatory” he makes brilliant use of the many colors at his disposal, like on the sumptuous closer “O Syracuse,” an opulently appointed melody that cries out for a witty lyric.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.nathanclevengermusic.com/\" target=\"_blank\">About Nathan Clevenger (Official Website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-31e-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10342393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger-400x225.jpg\" alt=\"Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10342393\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s improvised music scene is made up of dozens of projects and bands drawing on a shared pool of talent, so it’s not unusual for musicians to play together in multiple ensembles. The Nathan Clevenger Group includes many of the scene’s leading figures, but he’s created a sound that stands out from the crowd.\u003c/p>\n\u003cp>Led by the Oakland guitarist/composer of the same name, the Nathan Clevenger Group has been around since 2003, although the band didn’t release its debut album, “The Evening Earth,” until 2010. On its new album, “Observatory,” there’s the sense the ensemble has grown into Clevenger’s music, figuring out details that are all the more tricky for unfurling at an unhurried pace, like the playfully episodic “Dia de los Monos.”\u003c/p>\n\u003cp>Nine of the album’s 10 tracks feature a sextet, and the core of the group is built around Clevenger’s cool-toned guitar, the texture-minded drummer Jon Arkin, bassist Sam Bevan and alto saxophonist Kasey Knudsen, a player whose presence is always a reliable sign that something interesting is going on.\u003c/p>\n\u003cp>Drawing on orchestral jazz concepts pioneered by Duke Ellington, Sun Ra and Gil Evans, he revels in coaxing a kaleidoscopic array of voicings from the band, writing extended dreamscapes that unfold with their own quirky internal logic. On the atmospheric ballad “Monsoon,” the slowly building intensity leads up to a long keening solo by Knudsen, but the storm always stays far offshore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like Harry Carney’s supple baritone saxophone anchored and defined the sound of the Duke Ellington Orchestra, Clevenger is clearly inspired by reedy lower registers. Almost every track features either Aaron Novik or Cory Wright on bass clarinet, and the contrast between their woody rumblings and the guitar, alto sax and flute provides a good deal of drama. On the jaunty “Slipshod Caffeine,” the band sounds like Sun Ra riding a particularly pleasant space wave.\u003c/p>\n\u003cp>Over the past decade, Clevenger has intersected with some of the Bay Area’s most creative musicians, including saxophonist Phillip Greenlief, bassist Lisa Mezzacappa, trumpeter Darren Johnston and clarinetist Aaron Novik (he performed and recorded as part of Novik’s extended work “The Samuel Suite,” which was released on the Evander label in 2008). Like them, he draws on a pool of players who can be found working together in various combinations, like Cory Wright’s excellent new album “Apples + Oranges” (Singlespeed Music), a quintet session that also features saxophonist/flutist Evan Francis and was also recorded by Eli Crews and mastered by Myles Boisen.\u003c/p>\n\u003cp>Part of what makes Clevenger’s music so much fun is that he’s found a sweet spot between imposing his ideas as an arranger and opening up his material to his cast of vivid improvisers. He employs a similarly deft touch as a player. Throughout the album, Clevenger doesn’t take more than a handful of solos, but he is often guiding the ensemble with luscious chords and carefully placed lines. In many ways, the band itself is his instrument.\u003c/p>\n\u003cp>On “Observatory” he makes brilliant use of the many colors at his disposal, like on the sumptuous closer “O Syracuse,” an opulently appointed melody that cries out for a witty lyric.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.nathanclevengermusic.com/\" target=\"_blank\">About Nathan Clevenger (Official Website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the album, Lindberg’s rubbery bass lines and Mozgawa’s quasi-ceremonial drumming suggest, but don’t pin down, the shape of the music. It’s reminiscent of New Order or some Public Image Ltd. experiments from the past, and in some ways L.A. duo No Age, England’s the XX and even Sri Lanka-born provocateur M.I.A.\u003c/p>\n\u003cp>Like all of them, Warpaint refuses to be locked in any genre box. It keeps you off guard and guessing, engagingly so — always in a state of discovery. And there’s a lot on Warpaint worth discovering.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://warpaintwarpaint.com/\" target=\"_blank\">About Warpaint (official website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the album, Lindberg’s rubbery bass lines and Mozgawa’s quasi-ceremonial drumming suggest, but don’t pin down, the shape of the music. It’s reminiscent of New Order or some Public Image Ltd. experiments from the past, and in some ways L.A. duo No Age, England’s the XX and even Sri Lanka-born provocateur M.I.A.\u003c/p>\n\u003cp>Like all of them, Warpaint refuses to be locked in any genre box. It keeps you off guard and guessing, engagingly so — always in a state of discovery. And there’s a lot on Warpaint worth discovering.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://warpaintwarpaint.com/\" target=\"_blank\">About Warpaint (official website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Chicana First Lady of Song",
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"content": "\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marching Prouder: Gay Musicians from the San Francisco Bay Area After the Inaugural Parade",
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"content": "\u003cfigure id=\"attachment_87230\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87230\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band1640.jpg\" alt=\"Kim Boyd of the San Francisco Lesbian/Gay Freedom Band leads musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd of the \u003ca href=\"http://sflgfb.townalive.com/\">San Francisco Lesbian/Gay Freedom Band\u003c/a> leads musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cp>As a drum major, Kim Boyd is often marching tall. But the Oakland resident said there’s a little something extra in his step since he marched in the Inaugural Parade in Washington, D.C. on Monday.\u003c/p>\n\u003cp>“I don’t know how to explain it to you. I step prouder,” Boyd, 51, said. “You already hold your head high, but you step prouder.”\u003c/p>\n\u003cp>That pride comes not just from Boyd’s participation in the parade, but also from what President Obama said during his inaugural address. Boyd is a member of the San Francisco Lesbian/Gay Freedom Band who marched in the parade with the Lesbian and Gay Band Association; in his address, the president expressed support for gay rights and same-sex marriage. He also referenced the \u003ca href=\"http://www.theatlantic.com/politics/archive/2013/01/an-amazing-1969-account-of-the-stonewall-uprising/272467/\">Stonewall riot\u003c/a>, a seminal event in the gay rights movement.\u003c/p>\n\u003cblockquote>\u003cp>We, the people, declare today that the most evident of truths –- that all of us are created equal –- is the star that guides us still; just as it guided our forebears through Seneca Falls, and Selma, and Stonewall; just as it guided all those men and women, sung and unsung, who left footprints along this great Mall, to hear a preacher say that we cannot walk alone; to hear a King proclaim that our individual freedom is inextricably bound to the freedom of every soul on Earth.\u003c/p>\n\u003cp>It is now our generation’s task to carry on what those pioneers began. For our journey is not complete until our wives, our mothers and daughters can earn a living equal to their efforts. Our journey is not complete until our gay brothers and sisters are treated like anyone else under the law –- for if we are truly created equal, then surely the love we commit to one another must be equal as well.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->The musicians marching with the Lesbian and Gay Band Association listened to the address on a bus, where they were waiting for parade preparations to begin\u003c/p>\n\u003cp>“At the first moment, when he said Stonewall, just that alone, the whole bus cheered,” Jason LeBrun said. The 33-year-old San Francisco resident played cowbell in the parade. “People had tears in their eyes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To actually hear the president say Stonewall and talk about equality for gay and lesbian people … it really touched my heart,” Boyd said. “It made me that much prouder to be there and do a good job marching by him.”\u003c/p>\n\u003cp>Now back in the Bay Area, both LeBrun and Boyd say they’re heartened by the symbolism of the president’s address.\u003c/p>\n\u003cp>“It makes me feel like we have a president that’s fighting for me and my rights, for equality,” Boyd said.\u003c/p>\n\u003cp>However, LeBrun added that he feels the president should continue to show vocal support for gay rights now that the inaugural ceremony has ended.\u003c/p>\n\u003cp>“The job of the the president is to be a visible leader. … I really want to see him keep doing what he did in the inauguration,” he said. “I want that sort of unwavering commitment as far as his public appearances go.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can check out photos below of Boyd and other local musicians rehearsing for the inauguration and of the Lesbian and Gay Band Association marching in Washington, D.C. The photos were shot by San Jose State University student \u003ca href=\"http://inaugblog.com/tensuan.html\">James Tensuan\u003c/a> for \u003ca href=\"http://inaugblog.com/\">inaugblog.com\u003c/a>, a NewsHour project that featured coverage of the inauguration by college students.\u003c/p>\n\u003cfigure id=\"attachment_87232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87232\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band2640.jpg\" alt=\"Kim Boyd, right, of the San Francisco Lesbian/Gay Freedom Band works with musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd, right, of the San Francisco Lesbian/Gay Freedom Band works with musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87233\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band3640.jpg\" alt=\"Kim Boyd of the San Francisco Lesbian/Gay Freedom Band leads musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd of the San Francisco Lesbian/Gay Freedom Band, left, leads musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87234\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87234\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band4640.jpg\" alt=\"Members of the Lesbian and Gay Band Association prepare for the Inaugural Parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Members of the Lesbian and Gay Band Association prepare for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87235\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87235\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band5640.jpg\" alt=\"Members of the Lesbian and Gay Band Association march in the Inaugural Parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Members of the Lesbian and Gay Band Association march in the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Photos: Gay Musicians from the San Francisco Bay Area Prepare for the Inaugural Parade",
"description": "Several gay musicians from the Bay Area traveled to Washington, D.C. to march in Monday's Inaugural Parade with the Lesbian and Gay Band Association. We spoke with two of the performers - Kim Boyd and Jason LeBrun - about the experience and what they took away from it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_87230\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87230\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band1640.jpg\" alt=\"Kim Boyd of the San Francisco Lesbian/Gay Freedom Band leads musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd of the \u003ca href=\"http://sflgfb.townalive.com/\">San Francisco Lesbian/Gay Freedom Band\u003c/a> leads musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cp>As a drum major, Kim Boyd is often marching tall. But the Oakland resident said there’s a little something extra in his step since he marched in the Inaugural Parade in Washington, D.C. on Monday.\u003c/p>\n\u003cp>“I don’t know how to explain it to you. I step prouder,” Boyd, 51, said. “You already hold your head high, but you step prouder.”\u003c/p>\n\u003cp>That pride comes not just from Boyd’s participation in the parade, but also from what President Obama said during his inaugural address. Boyd is a member of the San Francisco Lesbian/Gay Freedom Band who marched in the parade with the Lesbian and Gay Band Association; in his address, the president expressed support for gay rights and same-sex marriage. He also referenced the \u003ca href=\"http://www.theatlantic.com/politics/archive/2013/01/an-amazing-1969-account-of-the-stonewall-uprising/272467/\">Stonewall riot\u003c/a>, a seminal event in the gay rights movement.\u003c/p>\n\u003cblockquote>\u003cp>We, the people, declare today that the most evident of truths –- that all of us are created equal –- is the star that guides us still; just as it guided our forebears through Seneca Falls, and Selma, and Stonewall; just as it guided all those men and women, sung and unsung, who left footprints along this great Mall, to hear a preacher say that we cannot walk alone; to hear a King proclaim that our individual freedom is inextricably bound to the freedom of every soul on Earth.\u003c/p>\n\u003cp>It is now our generation’s task to carry on what those pioneers began. For our journey is not complete until our wives, our mothers and daughters can earn a living equal to their efforts. Our journey is not complete until our gay brothers and sisters are treated like anyone else under the law –- for if we are truly created equal, then surely the love we commit to one another must be equal as well.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->The musicians marching with the Lesbian and Gay Band Association listened to the address on a bus, where they were waiting for parade preparations to begin\u003c/p>\n\u003cp>“At the first moment, when he said Stonewall, just that alone, the whole bus cheered,” Jason LeBrun said. The 33-year-old San Francisco resident played cowbell in the parade. “People had tears in their eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To actually hear the president say Stonewall and talk about equality for gay and lesbian people … it really touched my heart,” Boyd said. “It made me that much prouder to be there and do a good job marching by him.”\u003c/p>\n\u003cp>Now back in the Bay Area, both LeBrun and Boyd say they’re heartened by the symbolism of the president’s address.\u003c/p>\n\u003cp>“It makes me feel like we have a president that’s fighting for me and my rights, for equality,” Boyd said.\u003c/p>\n\u003cp>However, LeBrun added that he feels the president should continue to show vocal support for gay rights now that the inaugural ceremony has ended.\u003c/p>\n\u003cp>“The job of the the president is to be a visible leader. … I really want to see him keep doing what he did in the inauguration,” he said. “I want that sort of unwavering commitment as far as his public appearances go.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can check out photos below of Boyd and other local musicians rehearsing for the inauguration and of the Lesbian and Gay Band Association marching in Washington, D.C. The photos were shot by San Jose State University student \u003ca href=\"http://inaugblog.com/tensuan.html\">James Tensuan\u003c/a> for \u003ca href=\"http://inaugblog.com/\">inaugblog.com\u003c/a>, a NewsHour project that featured coverage of the inauguration by college students.\u003c/p>\n\u003cfigure id=\"attachment_87232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87232\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band2640.jpg\" alt=\"Kim Boyd, right, of the San Francisco Lesbian/Gay Freedom Band works with musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd, right, of the San Francisco Lesbian/Gay Freedom Band works with musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87233\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band3640.jpg\" alt=\"Kim Boyd of the San Francisco Lesbian/Gay Freedom Band leads musicians during a Jan. 12 practice in Oakland for the inauguration parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Kim Boyd of the San Francisco Lesbian/Gay Freedom Band, left, leads musicians during a Jan. 12 practice in Oakland for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87234\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87234\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band4640.jpg\" alt=\"Members of the Lesbian and Gay Band Association prepare for the Inaugural Parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Members of the Lesbian and Gay Band Association prepare for the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_87235\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-87235\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/band5640.jpg\" alt=\"Members of the Lesbian and Gay Band Association march in the Inaugural Parade. (James Tensuan/NewsHour)\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Members of the Lesbian and Gay Band Association march in the Inaugural Parade. (James Tensuan/NewsHour)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "'Idol' James Durbin Coming Home for 'Durbin Day'",
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"headTitle": "‘Idol’ James Durbin Coming Home for ‘Durbin Day’ | KQED",
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"content": "\u003cfigure id=\"attachment_27327\" class=\"wp-caption alignright\" style=\"max-width: 209px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/110106406.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-27327\" title=\"Paley Center For Media's Paleyfest 2011 Event Honoring "American Idol"\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/110106406-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Durbin onstage at Paley Center for Media's Paleyfest 2011 event honoring 'American Idol' held at Saban Theater on March 14, 2011 in Beverly Hills, California. (Photo by Alberto E. Rodriguez/Getty Images) \u003c/figcaption>\u003c/figure>\n\u003cp>We just caught wind via the \u003ca href=\"http://www.mercurynews.com/top-stories/ci_18058389?nclick_check=1\">San Jose Mercury News\u003c/a> that James Durbin, the \u003ca href=\"http://www.americanidol.com/contestants/season_10/james_durbin/\">American Idol contestant\u003c/a> who was \u003ca href=\"http://ww2.kqed.org/news/2011/05/12/santa-cruzs-james-durbin-voted-off-american-idol/\">voted out of the competition\u003c/a> this week, will indeed perform to a hometown crowd in Santa Cruz this Saturday evening as \u003ca href=\"http://www.insidebayarea.com/oaklandtribune/localnews/ci_17987967\">originally planned\u003c/a>. It’s all part of what’s being called: \u003ca href=\"http://www.beachboardwalk.com/durbinday/\">Durbin Day\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>A day after he was eliminated from competition on “American Idol” and his official “Idol” homecoming to Santa Cruz was cancelled, Durbin will come to town after all, as originally planned.\u003c/p>\n\u003cp>The Santa Cruz Beach Boardwalk announced an agreement today with “American Idol” that will allow “Durbin Day,” scheduled for Saturday, to proceed even though the 22-year-old Durbin is no longer in the competition.\u003c/p>\n\u003cp>The event was originally cancelled because “Idol” said Durbin would not be available to travel to Santa Cruz because of commitments to the show. But on Friday, “Idol” agreed for the first time in its history to allow an exception and to sponsor an eliminated competitor for a homecoming concert.\u003c/p>\n\u003cp>Traditionally, the show only sponsors hometown trips for the top three. Durbin finished fourth in the competition.\u003c/p>\n\u003cp>Though some details may change, the event will still include a visit to the Louden Nelson Center, a processional to the beach and a concert on the stage at the Santa Cruz Beach Boardwalk.\u003c/p>\n\u003cp>“American Idol” has confirmed that it will allow Durbin to come to Santa Cruz. The homecoming event will not, however, be broadcast on “Idol.”\u003c/p>\n\u003cp>The new schedule includes a kids’ rally from 3:15 to 4:15 p.m. followed by a walking processional to the Beach Boardwalk. At 5 p.m., Durbin will sing three songs with the White Album Ensemble at the Boardwalk’s bandstand. \u003ca href=\"http://www.mercurynews.com/top-stories/ci_18058389?nclick_check=1\">More\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>And don’t pretend you don’t care. Based on the amount of comments we received on \u003ca href=\"http://ww2.kqed.org/news/tag/james-durbin/\">previous Durbin posts\u003c/a>, we’d beg to differ.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_27327\" class=\"wp-caption alignright\" style=\"max-width: 209px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/110106406.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-27327\" title=\"Paley Center For Media's Paleyfest 2011 Event Honoring "American Idol"\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/110106406-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Durbin onstage at Paley Center for Media's Paleyfest 2011 event honoring 'American Idol' held at Saban Theater on March 14, 2011 in Beverly Hills, California. (Photo by Alberto E. Rodriguez/Getty Images) \u003c/figcaption>\u003c/figure>\n\u003cp>We just caught wind via the \u003ca href=\"http://www.mercurynews.com/top-stories/ci_18058389?nclick_check=1\">San Jose Mercury News\u003c/a> that James Durbin, the \u003ca href=\"http://www.americanidol.com/contestants/season_10/james_durbin/\">American Idol contestant\u003c/a> who was \u003ca href=\"http://ww2.kqed.org/news/2011/05/12/santa-cruzs-james-durbin-voted-off-american-idol/\">voted out of the competition\u003c/a> this week, will indeed perform to a hometown crowd in Santa Cruz this Saturday evening as \u003ca href=\"http://www.insidebayarea.com/oaklandtribune/localnews/ci_17987967\">originally planned\u003c/a>. It’s all part of what’s being called: \u003ca href=\"http://www.beachboardwalk.com/durbinday/\">Durbin Day\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>A day after he was eliminated from competition on “American Idol” and his official “Idol” homecoming to Santa Cruz was cancelled, Durbin will come to town after all, as originally planned.\u003c/p>\n\u003cp>The Santa Cruz Beach Boardwalk announced an agreement today with “American Idol” that will allow “Durbin Day,” scheduled for Saturday, to proceed even though the 22-year-old Durbin is no longer in the competition.\u003c/p>\n\u003cp>The event was originally cancelled because “Idol” said Durbin would not be available to travel to Santa Cruz because of commitments to the show. But on Friday, “Idol” agreed for the first time in its history to allow an exception and to sponsor an eliminated competitor for a homecoming concert.\u003c/p>\n\u003cp>Traditionally, the show only sponsors hometown trips for the top three. Durbin finished fourth in the competition.\u003c/p>\n\u003cp>Though some details may change, the event will still include a visit to the Louden Nelson Center, a processional to the beach and a concert on the stage at the Santa Cruz Beach Boardwalk.\u003c/p>\n\u003cp>“American Idol” has confirmed that it will allow Durbin to come to Santa Cruz. The homecoming event will not, however, be broadcast on “Idol.”\u003c/p>\n\u003cp>The new schedule includes a kids’ rally from 3:15 to 4:15 p.m. followed by a walking processional to the Beach Boardwalk. At 5 p.m., Durbin will sing three songs with the White Album Ensemble at the Boardwalk’s bandstand. \u003ca href=\"http://www.mercurynews.com/top-stories/ci_18058389?nclick_check=1\">More\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>And don’t pretend you don’t care. Based on the amount of comments we received on \u003ca href=\"http://ww2.kqed.org/news/tag/james-durbin/\">previous Durbin posts\u003c/a>, we’d beg to differ.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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